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Dissertations / Theses on the topic 'Medieval and comparative literature'
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Bardzell, Shaowen. "Hospitality and gift exchange reciprocity and its roles in two medieval romance narratives /." [Bloomington, Ind.] : Indiana University, 2004. http://wwwlib.umi.com/dissertations/fullcit/3162224.
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Thesis (Ph.D.)--Indiana University, Dept. of Comparative Literature, 2004.Source: Dissertation Abstracts International, Volume: 66-01, Section: A, page: 0170. Chair: Rosemarie McGerr. Title from dissertation home page (viewed Oct. 11, 2006).
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Ramirez-Nieves, Emmanuel. "Repenting Roguery: Penance in the Spanish Picaresque Novel and the Arabic and Hebrew Maqama." Thesis, Harvard University, 2015. http://nrs.harvard.edu/urn-3:HUL.InstRepos:17467380.
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Repenting Roguery: Penance in the Spanish Picaresque Novel and the Arabic and Hebrew Maqāma, investigates the significance of conversion narratives and penitential elements in the Spanish picaresque novels Vida de Guzmán de Alfarache (1599 and 1604) by Mateo Alemán and El guitón Onofre (circa 1606) by Gregorio González as well as Juan Ruiz’s Libro de buen amor (1330 and 1343) and El lazarillo de Tormes (1554), the Arabic maqāmāt of al-Ḥarīrī of Basra (circa 1100), and Ibn al-Ashtarkūwī al-Saraqusṭī (1126-1138), and the Hebrew maqāmāt of Yehudah al-Ḥarizi (circa 1220) and Isaac Ibn Sahula (1281-1284). In exploring the ways in which Christian, Muslim, and Jewish authors from medieval and early modern Iberia represent the repentance of a rogue, my study not only sheds light on the important commonalities that these religious and literary traditions share, but also illuminates the particular questions that these picaresque and proto-picaresque texts raise within their respective religious, political and cultural milieux. The ambiguity that characterizes the conversion narrative of a seemingly irredeemable rogue, I argue, provides these medieval and early modern writers with an ideal framework to address pressing problems such as controversies regarding free will and predestination, the legitimacy of claims to religious and political authority, and the understanding of social and religious marginality.Comparative Literature
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Chuffe, Eliud. "Teatro breve - carcajada grande: Un estudio del "Entremes de Melisendra"." Diss., The University of Arizona, 2004. http://hdl.handle.net/10150/280596.
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This dissertation presents a critical edition of the Entremes de Melisendra. This entremes has been attributed to two talented writers of the Golden Age theater: Lope de Vega Carpio and Miguel de Cervantes Saavedra. The first part of this work is an introduction to the important role that the entremes , as a sub-genre, played during the period. The work then provides a structural analysis of the Entremes in detail, including versification and vocabulary. Bakhtin's fundamental work on carnaval, complemented by that of other critics, provides the framework for the analysis of the bawdy, at times grotesque, humor of the play. Chapter III explores the influence of the Romance de don Gaiferos , whose plot derives from the Emperor Charlemagne's era. Through a detailed comparison, it becomes clear that the Romance de don Gaiferos strongly influenced the creation of the Entremes de Melisendra. Moreover, examples of parody abound. Instead of calling the play Entremes de don Gaiferos, the author parodies the title and changes it to Entremes de Melisendra, indicative of the carnavalesque inversion found throughout the text. Chapter IV then analyses the complex intertextuality between the Entremes de Melisendra and Cervantes's "Retablo de maese Pedro." The theoretical background employed for the consideration of this extensive parody draws from Linda Hutcheon's work A Theory of Parody as well as that of others theorists. The edition that comprises the fifth chapter has been modernized using the rules suggested for editing comedias by Frank P. Casa and Michael D. McGaha in Editing the Comedia. It has been annotated to help readers understand some of the more complex passages. The brief conclusion then underscores the significance of this piece for understanding the artistic evolution of a Medieval romance. The transformations in plot and presentation from romance, to entremes and then to a prose recreation of a theatrical "retablo" reflect the ever-changing relationships between art and society. A series of appendices offers additional information that supports the analysis presented.
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Ailes, Marianne J. "A comparative study of the medieval French and Middle English verse texts of the Fierabras Legend." Thesis, University of Reading, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.386185.
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Bridges, Venetia Rachel Lucy. "Writing the past : a comparative study of 'the Classical Tradition' in the works of Walter of Châtillon and contemporary literature, 1160-1200." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610518.
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Levy, Isabelle Charlotte. "The Poetics of Love in Prosimetra across the Medieval Mediterranean." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11359.
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Written as prose began to garner attention in literary cultures that had long privileged poetic composition, prosimetra offer a unique perspective on what authors in eleventh-century al-Andalus and thirteenth- and fourteenth-century Spain and Italy singled out as the special capabilities of poetry. Further, as the only shared theme across mixed-form texts in Arabic, Hebrew, Italian, and Spanish, love acts as a go-between across these varied literary traditions.
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Masera, Cerutti Maria Ana Beatriz. "Symbolism and some other aspects of traditional Hispanic lyrics : a comparative study of late medieval lyric and modern popular song." Thesis, Queen Mary, University of London, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.321657.
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Judkins, Ryan R. "Noble Venery: Hunting and the Aristocratic Imagination in Late Medieval English Literature." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1337896675.
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Worth, Brenda Itzel Liliana. "'Exile-and-return' in medieval vernacular texts of England and Spain 1170-1250." Thesis, University of Oxford, 2015. http://ora.ox.ac.uk/objects/uuid:a736407a-4f69-46f2-98bb-992b1fb669eb.
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The motif of 'exile-and-return' is found in works from a wide range of periods and linguistic traditions. The standard narrative pattern depicts the return of wrongfully exiled heroes or peoples to their former abode or their establishment of a superior home, which signals a restoration of order. The appeal of the pattern lies in its association with undue loss, rightful recovery and the universal vindication of the protagonist. Though by no means confined to any one period or region, the particular narrative pattern of the exile-and-return motif is prevalent in vernacular texts of England and Spain around 1170–1250. This is the subject of the thesis. The following research engages with scholarship on Anglo-Norman romances and their characteristic use of exile-and-return that sets them apart from continental French romances, by highlighting the widespread employment of this narrative pattern in Spanish poetic works during the same period. The prevalence of the pattern in both literatures is linked to analogous interaction with continental French works, the relationship between the texts and their political contexts, and a common responses to wider ecclesiastical reforms. A broader aim is to draw attention to further, unacknowledged similarities between contemporary texts from these different linguistic traditions, as failure to take into account the wider, multilingual literary contexts of this period leads to incomplete arguments. The methodology is grounded in close reading of four main texts selected for their exemplarity, with some consideration of the historical context and contemporary intertexts: the Romance of Horn, the Cantar de mio Cid, Gui de Warewic and the Poema de Fernán González. A range of intertexts are considered alongside in order to elucidate the particular concerns and distinctive use of exile-and-return in the main works.
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Puello, Alfonso Sarah L. "Poetics of the urban, poetics of the self : a comparative study of selected works by Jorge Luis Borges and Jacques Réda." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:4316585d-51c1-4b79-ae46-f5cdaf4c55d5.
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This thesis explores the poetic representation of Buenos Aires and Paris in selected works by Jorge Luis Borges and Jacques Réda respectively. Its primary aim is to analyse the relational phenomenon between the construction of these poets' personal maps of the city and the concomitant formation of the poetic self. The principal point of departure is Jacques Réda's Ferveur de Borges (1987), a collection of essays and poems published individually between 1957 and 1986, where the author expresses his admiration for Borges, shows his broad and critical knowledge of Borges's works and establishes the similarities between their poetics of the urban and poetics of the self. Another important aim of this thesis is therefore to ascertain the extent of Borges's influential role in Réda's poetics, but also how reading Borges through Réda enhances our understanding of Borges's urban poetry. This comparison reveals that Borges and Réda gravitate towards places within the city, but mostly its periphery, characterised by their unpretentious, soulful and heterotopic qualities — places where the poets feel a sense of belonging. Their objective is to restore, through the prism of their minds and their physical investment in space, the provincial spirit of Buenos Aires and Paris, hidden behind the dynamism of the modern metropolises they have become. As a consequence of this communion between self and place they explore the possibility of being on the brink of a revelatory experience that speaks to the enigma of life. The wider scope of the thesis addresses the historical and cultural relationship between Buenos Aires and Paris, Borges's and Réda's redefinition of the centre/periphery dichotomy, the evening as a temporal locale and the distinction between poetic destiny and aesthetic experience.
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Justel, Vicente Pablo. "La épica medieval francesa e hispánica : estudio comparativo de motivos y fórmulas : (L'épique médiévale française et hispanique : étude comparative de motifs et formules)." Thesis, Lyon, École normale supérieure, 2015. http://www.theses.fr/2015ENSL1031.
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Dans cette thèse de doctorat, nous analysons les rapports et l’influence possible que l’épique médiévale française a pu exercer sur l’hispanique au niveau des motifs et des formules. L’étude se compose de deux grandes parties, précédées d’une introduction et suivies d'un deuxième volume d’annexes. Dans la section introductive, nous présentons certains aspects essentiels : nous définissons le corpus, nous reprenons certains points sur lesquels l’influence des chansons de geste sur le Cantar de mio Cid a été proposée ou rejetée, nous définissons les concepts fondamentaux employés et nous justifions la structure de notre étude. La thèse se compose de deux grandes parties complémentaires, dans lesquelles nous analysons d’un point de vue comparatiste les motifs et le formulisme, respectivement. Dans la première, nous étudions six motifs qui méritent une attention spéciale : la description générale de la bataille, l’attaque à la lance, le coup d’épée, la prière du plus grand péril, l’apparition de l’ange et l’itinéraire épique. L’analyse est fondée sur deux niveaux : l’un externe, où nous explorons la relation du motif et des personnages qu’il met en jeu au sein de l’œuvre dans laquelle il s’insère ; et l’autre interne, où nous nous intéressons à la composition du motif et à l’actualisation formulaire des phases qui le composent. La deuxième grande partie s’ouvre avec l’examen du rapport entre l’oralisme et le formulisme. Ensuite, à partir des exemples du Cantar de mio Cid, nous analysons en détail les différentes espèces d’expressions formulaires en tenant compte du type de variation qu’elles expérimentent. De même, nous analysons les procédés de création de formules, ainsi que les différents fonctions et effets de l’emploi de ces unités. La thèse se poursuit avec un examen quantitatif des formules du Cantar. Cette deuxième grande partie se clôt avec un chapitre dédié au système formulaire de l’épique hispanique à la lumière des chansons de geste françaises. Les annexes incluent les vers et les formules des six motifs analysés dans la première partie, toujours à partir des exemples du corpus ; les différents types de locutions formulaires du Cantar ; le registre de la totalité des formules et des phrases formulaires du poème castillan ; et un index des vers cités, provenant tant de l’épique française que de l’hispaniqueIn this doctoral dissertation we analyze the relations and the possible influence that the Medieval French Epic could have exerted on the Hispanic one on the motifs and formulas levels. The study consists of two parts, preceded by an introduction and followed by a second volume of appendix. In the introductory section, some essential aspects are presented: the corpus, the status quaestionis of the French epic influence on the Cantar de mio Cid, the fundamental concepts employed and the structure of the study. In these two parts, we analyze from a comparative perspective two complementary aspects: the motifs and the formulism. In the first one, we study six motifs which deserve a particular attention: the general description of the battle, the lance attack, the blow with the sword, the narrative prayer, the appearance of the angel and the epic itinerary. These examinations are founded on two levels: the external one, in which the relation of the motif and the characters is explored; and the internal one, that deals with the motif composition and the formulaic way in which it is expressed. The second part opens with the relation between oralism and formulism. Thereafter, drawn from the examples of the Cantar de mio Cid, we analyze in detail the different kinds of formulaic expressions, taking into consideration the type of variation. In addition, we study the methods of generation of the formulas, and we also examine the diverse functions and effects of these units. The thesis continues with a quantitative exam of the formulas of the Cantar. This second part closes with a chapter devoted to the study of the Hispanic formulaic system in light of French epic. The annexes contain the verses and formulas of the six analyzed motifs, taken from the examples of the corpus; the different types of formulaic expressions of the Cantar de mio Cid; the register of all formulas and formulaic expressions of this Castilian poem; and a final index with the verses quoted both from the French and the Hispanic epic
En esta tesis de doctorado, analizamos las relaciones y la posible influencia que la épica medieval francesa pudo ejercer en la hispánica en el nivel de los motivos y las fórmulas. El estudio se compone de dos grandes bloques, precedidos de una introducción y seguidos de un segundo volumen de anexos. En el apartado introductorio, presentamos algunos aspectos esenciales: definimos el corpus, retomamos algunos puntos sobre los que se ha propuesto o desechado la influencia de las chansons de geste en el Cantar de mio Cid, definimos los conceptos fundamentales empleados y justificamos la estructura del estudio. La tesis está formada por dos grandes partes complementarias, en las que analizamos desde una perspectiva comparatista los motivos y el formulismo, respectivamente. En la primera, estudiamos seis motivos que merecen una atención especial: la descripción general de la batalla, el ataque con la lanza, el golpe con la espada, la oración narrativa, la aparición del ángel y el itinerario épico. El análisis está fundado en dos niveles: uno externo, donde exploramos la relación del motivo y de los personajes que en él participan; y otro interno, donde nos interesamos por la composición del motivo y por la actualización formular de las fases que lo componen. La segunda gran parte de la obra se abre con el examen de la relación entre el oralismo y el formulismo. A continuación, a partir de los ejemplos del Cantar de mio Cid, analizamos en detalle los diferentes tipos de expresiones formulares, teniendo en cuenta las clases de variaciones que experimentan. De igual modo, estudiamos los procedimientos de creación de fórmulas, así como las diferentes funciones y efectos del empleo de estas unidades. La tesis prosigue con un examen cuantitativo de las fórmulas del Cantar. Esta segunda gran parte se cierra con un capítulo dedicado al sistema formular de la épica hispánica a la luz de las chansons de geste francesas. Los anexos incluyen los versos y las fórmulas de los seis motivos analizados en la primera parte, siempre a partir de los ejemplos del corpus; los diferentes tipos de locuciones formulares del Cantar; el registro de la totalidad de las fórmulas y frases formulares del poema castellano; y un índice de versos citados, procedentes tanto de la épica francesa como de la hispánica
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Dimirouli, Foteini. "Cavafy hero : literary appropriations and cultural projections of the poet in English and American literature." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:84ca6361-a26c-4269-82da-4deb4b0c4664.
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The present thesis examines the way E.M. Forster, Lawrence Durrell, W.H. Auden, Stephen Spender, Joseph Brodsky, and James Merrill appropriated C.P. Cavafy in writings that were disseminated and consumed amongst culturally dominant literary circles, and which eventually determined the Greek-Alexandrian poet’s international reputation. I aim to contribute a new perspective on Cavafy, by evading the text-based tradition of reception studies, and proposing an alternative method of discussing the production of Cavafy's canonical status. Inspired by Pierre Bourdieu's sociological theory, I view literary canonization as involving a variety of factors at play beyond creative achievement: in particular, relationships of 'authorial consecration' whereby writers create and circulate cultural capital through their power to legitimize other artists. The critical and fictional texts I analyse perform readings of Cavafy's poetry alongside imaginative portrayals of the poet's life and personality. I take this complementary relationship - between the image of the poet each author projects and their reading of his work - as a starting point to explore the broader ideas of aesthetics and authorial subjectivity that inform the renderings of Cavafy generated by prominent literary figures. Rather than passive recipients of influence, these figures are considered as active agents in the production of 'Cavafy narratives', appropriating the poet according to their own agendas, while also projecting onto him their own position within the cultural field. Eventually, Cavafy becomes a point of insight into the multiplicity of networks and practices involved in the production of cultural currency; in turn, the study of the construction of Cavafy's authorial identity sheds light on the cumulative processes that have defined the way the poet is read and perceived to the present day. This duality of perspective is essential to a study concerned with the cultural contexts framing the poet's steady rise to international fame throughout the 20th century.
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Hawkins, Kellye D. "Sátira de felice e infelice vida de Don Pedro, Condestable de Portugal (1429-1466): Edición crítica." Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/214803.
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SpanishPh.D.
Esta tesis doctoral es una edición crítica de la Sátira de infelice e felice vida, una obra de ficción sentimental, escrita entre 1453-1455 por Don Pedro, Condestable de Portugal (1429-1466). El primer capítulo de esta tesis es la introducción en la cual reseño mis intenciones y el propósito de este estudio. El segundo capítulo trata del trasfondo histórico del autor y el género de la ficción sentimental. Incluí la biografía de Don Pedro para que el lector de la Sátira entienda la conexión que existe entre la obra y su vida. La sección sobre la ficción sentimental es sólo una muestra breve de las opiniones más recientes sobre el género para que tenga una idea de las pautas del mismo. La próxima sección es una investigación de las glosas insertadas en la Sátira por el propio autor y su impacto en la obra. Además, hago unas observaciones sobre una selección de las glosas. Luego, en la última parte del estudio, propongo una lectura fiel a la obra original con la única transcripción moderna de los manuscritos de Madrid y Lisboa. También explica el proceso que seguí al transcribirlos. Al final de la tesis incluí unos apéndices para facilitar la lectura de mi edición. El Apéndice A ofrece muestras de tres de los cuatro manuscritos existentes para darle al lector una idea de cómo se veía el texto original. El Apéndice B es un árbol genealógico de las familias reales relacionadas con Don Pedro para que la audiencia tenga una referencia visual de los personajes involucrados en la vida del autor. El último apéndice es una lista de referencias mitológicas, geográficas o históricas que aparecen en la obra.
Temple University--Theses
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Williams, Jonathan C. "The Boreal Borges." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3597.
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Jorge Luis Borges's story "El Zahir" describes a moment where the protagonist finds rest from his monomania by reworking one of the central texts in Old Germanic myth, the story of Sigurd and Brynhild. The approach taken here by the protagonist is the paradigm used in this thesis for understanding Borges's own strong readings of Old Germanic literature, specifically Old Scandinavian texts. In chapter one, a brief outline of the myth of Sigurd and Brynhild, with a particular emphasis on Gram, the sword that lied between them, is provided and juxtaposed with Borges's own family history, focusing on the family's storied military past. This image of the sword as the symbol for the north and its relation to Borges's family and political interests is sustained throughout the thesis. Chapter two is a survey of the various facets of Borges's literary output that were influenced by Nordic myth and literary styles: first, literary criticism, second, poetry and prose, and third, translation. The survey shows that Borges's engagement with the north began early and was maintained throughout his life. Likewise, after working through seven works from disparate periods it becomes clear that Borges is not merely introducing the Spanish speaking world to Old Scandinavian texts, but, in the same fashion as the protagonist in "El Zahir," subsuming them in a way that is uniquely Borgesian. The third chapter follows the same approach as the survey but focuses on Borges's short stories, specifically two short stories from his collection entitled Libro de Arena: "Ulrica" and "Undr." Many of the conclusions that emerged in the survey are further validated in the analysis of these two stories, but with greater emphasis on how they relate to Borges's later years, and the themes that begin to surround his preparation for death. The concluding chapter summarizes the findings of the previous three chapters by way of a close reading of Borges's tombstone. Each aspect of the stone is connected to Old Germanic myth and how that symbolized the eventual consummation of his joy: the sword that kept him separated from love was eventually lifted, as it was for Ulrica and Javier in "Ulrica."
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Chapman, Juliana Marie. "Map, Manuscript, and Memory: The Emergence of an Anglo-Saxon Identity Between Origins and Apocalypse." Diss., CLICK HERE for online access, 2009. http://contentdm.lib.byu.edu/ETD/image/etd3134.pdf.
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Luttrell, Eric G. "Persistent Mythologies: A Cognitive Approach to Beowulf and the Pagan Question." Thesis, University of Oregon, 2011. http://hdl.handle.net/1794/12089.
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xi, 266 p.This dissertation employs recent developments in the cognitive sciences to explicate competing social and religious undercurrents in Beowulf. An enduring scholarly debate has attributed the poem's origins to, variously, Christian or polytheistic worldviews. Rather than approaching the subject with inherited terms which originated in Judeo-Christian assumptions of religious identity, we may distinguish two incongruous ways of conceiving of agency, both human and divine, underlying the conventional designations of pagan and Christian. One of these, the poly-agent schema, requires a complex understanding of the motivations and limitations of all sentient individuals as causal agents with their own internal mental complexities. The other, the omni-agent schema, centralizes original agency in the figure of an omnipotent and omnipresent God and simplifies explanations of social interactions. In this concept, any individual's potential for intentional agency is limited to subordination or resistance to the will of God. The omni-agent schema relies on social categorization to understand behavior of others, whereas the poly-agent schema tracks individual minds, their intentions, and potential actions. Whereas medieval Christian narratives, such as Bede's Life of St. Cuthbert and Augustine's Confessions, depend on the omni-agent schema, Beowulf relies more heavily on the poly-agent schema, which it shares with Classical and Norse myths, epics, and sagas. While this does not prove that the poem originated before the conversion of the Anglo-Saxons, it suggests that the poem was able to preserve an older social schema which would have been discouraged in post-conversion cultures were it not for a number of passages in the poem which affirmed conventional Christian theology. These theological asides describe an omni-agent schema in abstract terms, though they accord poorly with the representations of character thought and action within the poem. This minimal affirmation of a newer model of social interaction may have enabled the poem's preservation on parchment in an age characterized by the condemnation, and often violent suppression, of non-Christian beliefs. These affirmations do not, however, tell the whole story.
Committee in charge: James W. Earl, Chairperson; Louise Westling, Member; Lisa Freinkel, Member; Mark Johnson, Outside Member
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Boyle, Mary. "To be a pilgrim : a comparative study of late medieval accounts of pilgrimage from Germany and England to the Holy Land." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:8f1b780c-642e-4ab1-9878-7068f9634ffa.
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As a large-scale international cultural phenomenon, the Jerusalem pilgrimage must be approached comparatively. This project compares the pilgrimage accounts of two Germans and two Englishmen who travelled to Jerusalem in the second half of the long fifteenth century. The texts are those of William Wey, (written c.1470), Bernhard von Breydenbach (printed 1486), Arnold von Harff (written 1499) and the 'Pylgrymage of Sir Richard Guylforde', composed by his anonymous chaplain (printed 1511). Each chapter focuses on a pilgrim, and one of four thematic topics: genre, the religious other, curiosity and print. This project treats these works as literary texts which can be approached from the perspective of cultural history, rather than as historical sources. The project, therefore, is more a consideration of how the pilgrimage is represented than it is about the events of each pilgrimage, and so it looks at the pilgrimages created in writing. Pilgrimage writings tend to focus on Jerusalem's spiritual significance, rather than its worldly position. In this sense, textual representations of travel to Jerusalem represent something of a disconnect with travel to other physical destinations, and the conceptual space of pilgrimage will be of key significance to this thesis. This has implications for practice as well as writing, and therefore the thesis will address how the writers consider their journeys, as well as the idea of virtual pilgrimage. The thesis engages with questions of identity, and how it is presented, as well as the authors' relationship with their audiences. This necessitates analysing collective identity, as well as the different audiences for printed and manuscript texts. The most important research question, bringing together these issues, considers whether the authors' different geographical origins affect their self-presentation and understanding of pilgrimage. This leads to my central contention: that pilgrimage must be portrayed as a single, unified experience.
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Lawson, Michael David. "Children of a One-Eyed God: Impairment in the Myth and Memory of Medieval Scandinavia." Digital Commons @ East Tennessee State University, 2019. https://dc.etsu.edu/etd/3538.
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Using the lives of impaired individuals catalogued in the Íslendingasögur as a narrative framework, this study examines medieval Scandinavian social views regarding impairment from the ninth to the thirteenth century. Beginning with the myths and legends of the eddic poetry and prose of Iceland, it investigates impairment in Norse pre-Christian belief; demonstrating how myth and memory informed medieval conceptualizations of the body. This thesis counters scholarly assumptions that the impaired were universally marginalized across medieval Europe. It argues that bodily difference, in the Norse world, was only viewed as a limitation when it prevented an individual from fulfilling roles that contributed to their community. As Christianity’s influence spread and northern European powers became more focused on state-building aims, Scandinavian societies also slowly began to transform. Less importance was placed on the community in favor of the individual and policies regarding bodily difference likewise changed; becoming less inclusive toward the impaired.
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Nadal, Cèlia. "Fosca Blanca : L'obscuritat poètica en Ausiàs March, Luis de Góngora i Eugenio Montale." Doctoral thesis, Universitat Pompeu Fabra, 2014. http://hdl.handle.net/10803/285266.
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Aquesta tesi tracta l’obscuritat poètica entesa com a fenomen lligat a la
comprensió i a la recerca i creació de sentit. Es parteix de tres corpus
textuals: una selecció de cants d’Ausiàs March (València, s. XV), les
Soledades de Luis de Góngora (Còrdova, s. XVII) i Ossi di seppia i Le
occasioni d’Eugenio Montale (Gènova, s. XX). El primer objectiu és
analitzar la qüestió de l’obscuritat en cada un dels tres casos, evaluant-ne
tant els marcs i mecanismes, com les raons i els impactes en el passat i en
el present. El segon, és posar en diàleg les pluralitats i les diferències
(diferents llengües, èpoques i tradicions; però també diferents històries de
la recepció), que mostren les inesgotables maneres de donar-se de
l’obscuritat dintre del marc de la creació poètica, proposant, finalment,
què ens pot continuar donant avui.This dissertation deals with the poetics of obscurity phenomenon related to the understanding and the research and creation of meaning. It is based on three collections of writings: a selection of songs by Ausiàs March (Valencia, s. XV), the Soledades by Luis de Góngora (Cordova, s. XVII) and Ossi di Seppia and Le Occasions by Eugenio Montale (Genoa, s. XX). The first objective is to analyze the question of obscurity in each of these three cases, evaluating their frameworks and mechanisms, including the reasons and impacts either in the past or in the present. The second is to put the pluralities and differences (different languages, periods and traditions, but different stories of receipt) into a dialogue, showing the obscurity’s endless ways to be within the framework of poetic creation, also suggesting what it can continue to give to us today.
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Samyn, Henrique Marques. "A pastora e a alegoria: a pastora alegórica, da lírica occitânica aos Carmina Burana e ao trovadorismo galego-português." Universidade do Estado do Rio de Janeiro, 2010. http://www.bdtd.uerj.br/tde_busca/arquivo.php?codArquivo=2198.
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Coordenação de Aperfeiçoamento de Pessoal de Nível SuperiorEste trabalho tenciona investigar o conceito de pastorela alegórica, desde sua emergência na obra do trovador occitânico Marcabru mais precisamente, em sua obra Lautrier jost una sebissa até seus desenvolvimentos nos corpora líricos occitânico, médio-latino e galego-português. Nosso trabalho compreende, assim, um estudo comparativista sobre a poesia medieval composta nos séculos XII e XIII, por intermédio do qual tencionamos abordar a relação entre discurso literário e alegoria no âmbito medieval
This thesis aims to investigate the concept of allegorical pastourelle, from its emergence in the poetry of the Occitan troubadour Marcabru more precisely, in his lyric Lautrier jost una sebissa until its developments in the Occitan, Medieval Latin and Galician-Portuguese lyric corpora. Through a Comparative Study of the medieval lyric of the XII and XIII centuries, this work aims to examine the relation between literary discourse and allegory in the medieval period
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Selmi, Nejib. "Les obstacles à la constitution du couple amoureux dans les littératures orientale et française médiévales : Essais sur Floire et Blanchefleur et son modèle arabo-persan." Thesis, Nice, 2014. http://www.theses.fr/2014NICE2047/document.
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Cette étude met à l'épreuve l’hypothèse selon laquelle « pour qu’il y ait « histoire », roman, il faut qu’il y ait obstacle à la réalisation de [l’amor] » (Pierre Gallais). Les obstacles à la (re)constitution du couple amoureux reviennent avec récurrence dans les romans de couple de l’époque médiévale, aussi bien en Orient qu’en Occident, et méritent d’être mis en avant. Les interroger, c’est rappeler que la lecture de Floire et Blanchefleur nous invite, par moments, à le comparer à deux autres intrigues amoureuses : l’une persane (Varqe et Gulšāh), l’autre arabe ('Urwa et 'Afrā’). C’est essayer de découvrir ou redécouvrir les affinités thématiques et les relations de parenté entre ces textes. C’est rappeler que les amours heureuses n’ont pas d’histoire et qu’aimer conduit souvent à s’exposer aux autres, à l’opposition parentale et plus généralement à la société. C’est montrer que l’amour s’accroît avec la séparation et la souffrance. C’est tenter de mettre en relief le paradoxe sur lequel reposent ces romans : l’obstacle, qui à première vue semble inquiéter les couples en herbe et condamner leurs idylles, s’avère finalement un élément indispensable de l’intrigue amoureuse qui ne fait que célébrer l’intrépidité des jeunes amants. C’est montrer que dans ces textes, aucun des obstacles rencontrés ne finit par disjoindre les amants. Enfin, c’est montrer comment les conversions finales, aussi bien individuelles que collectives, finissent par conférer à ces textes une dimension civilisatrice, « une tendance orientalisante », voire « un « orientalisme » romanesque »This study examines the hypothesis according to which “for there to be a “story”, a novel, there needs to be an obstacle hindering the realization of [love]” (Pierre Gallais). The obstacles of the lovers’ union reoccur in love stories from medieval times, as much in the Orient as in the Occident. These obstacles merit being brought to attention. To examine them is to recall that the reading of anonymous French idyll invites us, at times, to compare it to two amorous plots: one being Persian (Varqe and Gulšāh), the other Arabic ('Urwa and 'Afrā’). The thematic affinities between these related texts do not extinguish in any circumstance the originality of each novel. It should be noted that stories are not created from fortunate love and that to love often drives one to expose himself to others, parental opposition and to society. It shows love is only intensified with separation and suffering. It attempts to emphasize the paradox upon which these novels are based: the obstacle, which at first glance appears to worry the aspiring couples and condemn their idyll, decisively proves an indispensable element of the romantic plot which serves only to celebrate the intrepidity of young lovers. It is demonstrated in these texts that none of the obstacles encountered succeed in separating the lovers. Finally, it shows how individual and collective conversions finish by conferring a civilizing dimension to the texts, “an orientalizing tendency”, indeed “a Romanesque ‘Orientalism’”
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Fagundes, Claudiberto. ""De música" diálogo filosófico de Agostinho de Hipona (354-430) : introdução, tradução e notas." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2014. http://hdl.handle.net/10183/106440.
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Constata a ausência de tradução em língua portuguesa do diálogo filosófico “De Musica” (Sobre a Música) de Agostinho de Hipona (354-430), bem como sua necessidade representada especialmente pela crescente presença na pesquisa especializada brasileira, propondo a tradução completa de seu texto latino para a mesma língua. Situa a obra na vida, na época e no conjunto bibliográfico do autor, expõe os principais problemas textuais e intertextuais, elementos de recepção e conteúdo, introduz cada um dos seis livros que a compõe e termina relacionando várias de suas contribuições para a construção e transmissão dos princípios estéticos ocidentais. Percorre algumas das etapas históricas da reflexão tradutória identificando suas mais importantes correntes, especialmente representadas na dicotomia entre tradução livre e tradução literal. Apresenta a proposta de solução funcionalista percorrendo os sucessivos aportes de seus principais teóricos e destacando especialmente as preocupações pedagógicas de alguns de seus idealizadores. Discute as críticas mais importantes recebidas pelo modelo funcionalista e propõe sua aplicação ao texto em questão aliada aos postulados da Literatura Comparada. Descreve a proposta funcionalista de abordagem tradutória de Christiane Nord enfatizando sua relevância enquanto prática de aproximação textual e cultural. Aplica os métodos propostos pela autora percorrendo a obra a ser traduzida e destaca aspectos em que a teoria se mostra mais produtiva. Mostra em três quadros os resultados dos dados obtidos na análise do texto de partida, das principais decisões tradutórias e da proposta de aplicação ao texto de chegada. Partindo da Literatura Comparada e do estado atual dos Estudos de Tradução, seleciona aspectos menos produtivos do modelo funcionalista optando pela rejeição de práticas especialmente prejudiciais à visibilidade do tradutor. Apresenta como principal resultado a primeira tradução completa em língua portuguesa para a referida obra agostiniana. Conclui destacando aspectos do fenômeno linguístico, seu caráter intencional, a inevitável parcialidade das aproximações teóricas, provisoriedade do fazer tradutório e a pertinência de algumas intuições agostinianas expressas no “De Musica”.Having noted the absence of a Portuguese translation of Augustine of Hippo’s (354-430) philosophical dialogue "De Musica" (About Music), as well as its need represented especially by the growing presence in Brazilian specialized research, I propose the complete translation of his Latin text into Portuguese. This translation situates the work in life and in literature at the time set by the author, sets out the main textual and intertextual issues, receiving elements and content, introduces each of the six books that comprise it and ends relating several of his contributions to construction and transmission of Western aesthetic principles. It runs through some of the historic steps of translation reflection identifying their most important currents, especially those represented in the dichotomy between literal translation and free translation. This study presents the functionalist solution proposed, traversing the successive contributions of its major theorists and especially highlighting the pedagogical concerns of some of its founders. And so, this text discusses the major criticisms received by the functionalist model and proposes its application to the text in question together with the postulates of Comparative Literature. I describe the functionalist translator approach proposed by Christiane Nord emphasizing, its importance as a practice of textual and cultural analysis. I apply here the methods proposed by the Nord covering the work to be translated and highlight the ways in which the theory proves more productive. For this purpose, I bring in three charts with the results of the data obtained from analysis of the source text, the major translation decisions taken and their application to the target text. Starting from the Comparative Literature and the current state of Translation Studies, I selected less productive functionalist models opting for rejecting practices especially harmful to the visibility of the translator aspects. The main findings result show the first complete translation into Portuguese for such Augustinian work. I conclude by highlighting aspects of the linguistic phenomenon, its intentional character, the inevitable partiality of theoretical approaches, temporariness of doing translational and relevance of some Augustinian intuitions expressed in "De Musica".
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Martin, Zora. "Choose to Avoid Tragedy." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1135.
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Shakespeare's ideas about free will and moral choice, as illustrated in his play Macbeth, may have been influenced by Dante's Inferno. Dante was known to Shakespeare's contemporaries, and therefore most likely to the Bard himself. Current literature has not conclusively addressed this topic, and a focused examination is important, because it offers both an additional perspective on free will in Inferno, and adds to the understanding of free will in Macbeth.
Read at face value, Macbeth seems to bear no responsibility for his actions because they were preordained by the fates. Dante believed in free will, and Macbeth bears more than one similarity to his Commedia. Read through a Dantean lens, Macbeth has free will - even if choosing not to exercise it. Through the mere contemplation of the four reasons for not killing Duncan, Macbeth recognizes that he has the choice whether to become a traitor, with the consequences of suffering contrapasso damnation. But Macbeth elects to disregard the wisdom passed down in Dante's Commedia, and knowingly commits a heinously immoral act.
Shakespeare uses his predecessor Dante as a tool to advocate for human agency and moral choices in a text that would otherwise be fatalistic. Both then and now, Shakespeare sought to influence his audiences' understanding of their own free will. One first has to believe in possessing free will, in order to use it to make the best possible choices. Dante and Shakespeare reaffirm our possession of free will to help us avoid individual and societal tragedies.
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DeVoe, Lauren E. "Erichtho’s Mouth: Persuasive Speaking, Sexuality and Magic." ScholarWorks@UNO, 2015. http://scholarworks.uno.edu/td/2020.
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Since classical times, the witch has remained an eerie, powerful and foreboding figure in literature and drama. Often beautiful and alluring, like Circe, and just as often terrifying and aged, like Shakespeare’s Wyrd Sisters, the witch lives ever just outside the margins of polite society. In John Marston’s Sophonisba, or The Wonder of Women the witch’s ability to persuade through the use of language is Marston’s commentary on the power of poetry, theater and women’s speech in early modern Britain. Erichtho is the ultimate example of a terrifying woman who uses linguistic persuasion to change the course of nations. Throughout the play, the use of speech draws reader’s attention to the role of the mouth as an orifice of persuasion and to the power of speech. It is through Erichtho’s mouth that Marston truly highlights the power of subversive speech and the effects it has on its intended audience.
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Mertz-Weigel, Dorothee. "Figuring melancholy: from Jean de Meun to Moliere, via Montaigne, Descartes, Rotrou and Corneille." The Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc_num=osu1117647343.
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Malo, Roberta. "Saints' relics in medieval English literature." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1186329116.
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Byrne, Aisling Nora. "The otherworlds of medieval insular literature." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610076.
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Citrome, Jeremy J. "The surgeon in medieval English literature /." New York : Palgrave Macmillan, 2006. http://catalogue.bnf.fr/ark:/12148/cb41014151z.
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Castro, Lingl Vera. "Assertive women in medieval Spanish literature." Thesis, Queen Mary, University of London, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.704745.
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Beckett, Ruth. "Medieval perspectives on Waverley." Thesis, University of York, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.292507.
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Semper, Philippa Judith. "Diagrams in English medieval manuscripts." Thesis, University of Exeter, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.261166.
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This thesis examines diagrams found in English medieval manuscripts dating from the ninth to the fourteenth century. It is based upon a survey of diagrammatic material, the results of which are presented in the catalogue raisonnee (Appendix A). The lack of adequate terms to define diagrams is addressed, as is the lack of a consistent and coherent treatment of diagrams in existing literature. A close critique of diagrams can be an aid in dating manuscripts and tracing textual recensions, and therefore a well-defined yet flexible framework must be established in order to further future research. The catalogue establishes standard types for particular diagrams, which can be used for comparison and identification of examples in manuscripts. The discussion of the thesis is largely structured on a chronological basis, studying the types of diagrams which were in use in three periods; late Antiquity, the Dark Ages, and the twelfth to fourteenth centuries. The main diagrammatic forms which were transmitted from late classical commentaries in medieval manuscripts are analysed in terms of their content and technique. These diagrams are still influenced by Greek learning. Changes and adaptations in these forms and techniques are then observed. The degeneracy of learning in the Dark Ages is characterised by diagrams based on cyclical rather than circular forms. The availability of translations of Greek texts through Arab sources in the twelfth century leads again to precise diagrams which accompany logical textual exposition. Diagrams are finally viewed within the wider context of medieval art. Features of medieval aesthetics are highlighted which make it possible to approach diagrams in the same way as works of art. The importance of geometric structures to artistic composition is increased by the symbolic meanings which are attached to certain shapes and proportions. Pictorial diagrams themselves migrate into wall-paintings and floor-mosaics, and also eventually into literature
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Harrison, Roger. "Medieval and modern new towns : a comparative study." Thesis, Bangor University, 1985. https://research.bangor.ac.uk/portal/en/theses/medieval-and-modern-new-towns--a-comparative-study(625e0383-c636-4729-acec-072c5e5301db).html.
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This study was generated by the writer's twenty years of responsibility for the architecture and planning of Runcorn new town in Cheshire. It draws on this experience to chart the development of Runcorn and the towns founded by Edward 1 in North Wales between 1277 and 1284. The work is written in two principal sections dealing with Runcorn and Conway respectively and concludes with a chapter drawing together those points of comparison and contrast made apparent by the main body of the work. The first section in each part examines how these new towns each formed part of a larger programme of town building designed to re-orientate regional economies in the aftermath of war. The process of planning the new towns is then discussed in the context of contemporary functional requirements and the constraints imposed by the selected sites. The origins of the settlers recruited to the new towns is analysed and a theory put forward concerning the methods whereby the medieval new towns were populated by the royal administration. The problems of land assembly are examined and the remarkably similar principles of financial compensation for acquired land that were adopted in the medieval and modern periods. The administration and internal organisation of the new towns are compared and how these related to local government which itself was reorganised contemporaneiously with the development of the new towns. The basis of the economic life of the towns is examined in the context of wider economic factors affecting the financial fortunes of medieval kings and modern democratic government. The trades and occupations of the early settlers are analysed and the relationship of the royal administration and the development corporation to the social and economic life of the new towns. Internal trade and how this was affected by external lines of communication is considered and the concluding part of each section of the work deals with the settled towns and their relationship to the regions in which they were planted.
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Quaintmere, Max. "Aspects of memory in medieval Irish literature." Thesis, University of Glasgow, 2018. http://theses.gla.ac.uk/9026/.
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This thesis explores a number of topics centred around the theme of memory in relation to medieval Irish literature roughly covering the period 600—1200 AD but considering, where necessary, material later than this date. Firstly, based on the current scholarship in memory studies focused on the Middle Ages, the relationship between medieval thought on memory in Ireland is compared with its broader European context. From this it becomes clear that Ireland, whilst sharing many parallels with European thought during the early Middle Ages based on a shared literary inheritance from the Christian and late-classical worlds, does not experience the same renaissance in memory theory that occurred in European universities from the thirteenth century onwards. Next, a detailed semantic study of memory terms in Old and Middle Irish is provided with the aim of clarifying, supplementing and revising the definitions found in the Royal Irish Academy’s Dictionary of the Irish Language. Whilst the two principal memory nouns, cuimne and mebair, appear largely synonymous, the verb mebraigid appears to lean towards favouring the sense of ‘committing to memory,’ whereas cuimnigid(ir) encompasses this sense in addition to that of ‘recalling from memory.’ The third part of this thesis re-evaluates the dichotomous tension between notions of orality and literacy which some scholars have found in medieval Irish literature, arguing that this aspect has perhaps been exaggerated and that memory was a fluid concept in medieval Ireland embracing and merging both oral and textual forms. Following this, an assessment is made as to the importance and function of memory within the learned culture of the filid emphasising its necessary significance in a culture still partly based in an oral world. A wide range of sources including legal texts, grammatical tracts and tale literature is explored to show that the filid’s idealisation of memory was, largely, as a broad, comprehensive source supplying the knowledge necessary to acquire prestige through its performance and expression in a social context. The last part of this thesis investigates the notion that memory of the past could be used for the purposes of propaganda in medieval Ireland through the case study of the Ulster Cycle tales. Summarising and criticising some of the key prior scholarship in this area, this final section advocates for a much more cautious approach when claiming Ulster Cycle tales demonstrate political leanings, and that these must include or reconcile other more literary based interpretations of the themes and characters in these texts in order to remain successful as critical readings.
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Fowler, Rebekah Mary. "Mourning, Melancholia, and Masculinity in Medieval Literature." OpenSIUC, 2011. https://opensiuc.lib.siu.edu/dissertations/336.
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This dissertation examines male bereavement in medieval literature, expanding the current understanding of masculinity in the Middle Ages by investigating both the authenticity and affective nature of grief among aristocratic males. My focus is on the pattern of bereavement that surfaces across genres and that has most often been absorbed into studies of lovesickness, madness, the wilderness, or more formalist concerns with genre, form, and literary convention, but has seldom been discussed in its own right. This pattern consists of love, loss, grief madness and/or melancholy, wilderness lament/consolation, and synthesis and application of information gleaned from the grieving process, which is found is diverse texts from the twelfth century romance of Chrétien de Troyes' Yvain to the fifteenth century dream vision/consolatio Pearl. A focused study of how bereavement is represented through this pattern gains us a deeper understanding of medieval conceptions of emotional expression and their connections to gender and status. In other words, this project shows how the period imagines gender and status not just as something one recognizes, but also something one feels. The judgments and representations of bereavement in these texts can be explained by closely examining the writings of such religious thinkers as Augustine and Aquinas, who borrow from the neo-Platonic and Aristotelian schools of thought, respectively, and both of whom address the potential sinfulness and vanity of excessive grief and the dangers for this excess to result in sinful behavior. This latter point is also picked up in medical treatises and encyclopedic works of the Middle Ages, such as those of Avicenna and Isidore of Seville, which are also consulted in this project. The medieval philosophical and medical traditions are blended with contemporary theories of gender, authenticity, and understanding, as well as an acknowledgement of the psychoanalytic contributions of Freud and Lacan. Through these theories, I explore the capacity for the men in these texts to move beyond the social strictures of masculinity in order to more authentically grieve over the loss of their loved ones, which often constitutes a type of lack. However, my purpose is not to view losses as lack, but rather, to see them as a positive impetus to push beyond the limits of social behavior in order to realize textually various outcomes and to suggest the limitations of such socially sanctioned conventions as literary forms, language, rituals, understanding, and consolation to govern the enactment of grief.
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Avis, Robert John Roy. "The social mythology of medieval Icelandic literature." Thesis, University of Oxford, 2011. http://ora.ox.ac.uk/objects/uuid:2837907c-57c8-4438-8380-d5c8ba574efd.
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This thesis argues that the corpus of Old Norse-Icelandic literature which pertains to Iceland contains an intertextual narrative of the formation of Icelandic identity. An analysis of this narrative provides an opportunity to examine the relationship between literature and identity, as well as the potency of the artistic use of the idea of the past. The thesis identifies three salient narratives of communal action which inform the development of a discrete Icelandic identity, and which are examined in turn in the first three chapters of the thesis. The first is the landnám, the process of settlement itself; the second, the origin and evolution of the law; and the third, the assimilation and adaptation of Christianity. Although the roots of these narratives are doubtless historical, the thesis argues that their primary roles in the literature are as social myths, narratives whose literal truth- value is immaterial, but whose cultural symbolism is of overriding importance. The fourth chapter examines the depiction of the Icelander abroad, and uses the idiom of the relationship between þáttr (‘tale’) and surrounding text in the compilation of sagas of Norwegian kings Morkinskinna to consider the wider implications of the relationship between Icelandic and Norwegian identities. Finally, the thesis concludes with an analysis of the role of Sturlunga saga within this intertextual narrative, and its function as a set of narratives mediating between an identity grounded in social autonomy and one grounded in literature. The Íslendingasögur or ‘family sagas’ constitute the core of the thesis’s primary sources, for their subject-matter is focussed on the literary depiction of the Icelandic society under scrutiny. In order to demonstrate a continuity of engagement with ideas of identity across genres, a sample of other Icelandic texts are examined which depict Iceland or Icelanders, especially when in interaction with non-Icelandic characters or polities.
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Phillips, Veronica Middleton. "Authority and dispossession in medieval Irish literature." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708252.
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Smith, Greta Lynn. "Imagining Aesop: The Medieval Fable and the History of the Book." Miami University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=miami1469455774.
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Squires, Todd Andrew. "Reading the Kôwaka-Mai as Medieval Myth : story-patterns, traditional reference and performance in Late Medieval Japan /." The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1486474078048585.
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Schmid, David Neil. "Yuanqi medieval Buddhist narratives from Dunhuang /." online access from Digital dissertation consortium, 2002. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?3043951.
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Rodriguez-, Pereira Victor. "Change, Monstrosity, and Hybridity in Medieval Iberian Literature." Thesis, Indiana University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10937457.
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Monstrosity and transformation were intrinsically connected topics during premodern times. From Ovid’s Metamorphoses ( circa 8 CE) to Isidore of Seville’s Etymologies (560–636 CE), intellectuals of all fields of knowledge explored the possibility of human physical transformation, and its consequences. This dissertation will approach hybrid monstrosity in imaginative literature of medieval Iberia on the basis of its textual and formal representations, but also as the repository of cultural significance and ideologies that characterize a particular time and place. My study focuses on five medieval Spanish texts: the Libro del cavallero Zifar (Book of the Knight Zifar, c. 1300) often considered one of the first chivalric novels written in Spain; the Libro de buen amor (Book of Good Love, c. 1330–1343) a satirical and parodic poem fully grounded in both learned and popular culture; the Amadís de Gaula ( Amadís of Gaul) (1508) and its sequel, Las sergas de Esplandián (The Adventures of Esplandián ) (1510); and the Alborayque (circa 1454–74), an anti-Jewish illustrated pamphlet published in Castile at the end of the fifteenth century. My dissertation unpacks the concepts of monstrosity and transformation present in medieval European culture, and the ways these are displayed in a variety of texts in order to reinforce or undermine religious, gender, and ethnic anxieties. In addition, my research traces the shifts in attitudes akin to processes of transformation in monstrous beings between the thirteenth and sixteenth centuries. It will be clear that during the fourteenth century monstrosity and change were connected to religious identity, while during the fifteenth and sixteenth centuries the texts studied embody the political agenda aimed at unifying the Peninsula through the idea of the Reconquista (the Christian retaking of Muslim lands), and the cultural and social struggles between the different cultural and religious communities.
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Belcher, Wendy Laura. "Discursive possession Ethiopian discourse in medieval European and eighteenth-century English literature /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1619156921&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Page, Stephen Frederick. "Literature and culture in late medieval East Anglia." The Ohio State University, 1988. http://rave.ohiolink.edu/etdc/view?acc_num=osu1298490283.
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Langum, Virginia Eileen. "Discretion in late medieval England." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609515.
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Squires, Todd Andrew. "Reading the Kowaka-Mai as Medieval Myth: Story-Patterns, Traditional Reference and Performance in Late Medieval Japan." The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1393193807.
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O'Sullivan, Emer. "Comparative children's literature /." London [u.a.] : Routledge, 2009. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=018910995&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
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Thomson, David (David Ker). "The language of loss : reading medieval mystical literature." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59912.
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One of the unfortunate corollaries of poststructuralist theorizing about literary texts has been the equation of a skepticism concerning language with a skepticism concerning meaning. The menace of unrestrained relativism has tended to polarize the critical community into proponents of a 'logo-diffuse' onto-epistemology and proponents of a 'logo-centric' one, and critical practice has followed this lead. The critic who attempts to situate literature within the parameters of such a debate is likely to fail unless he or she appeals to a much more extensive discourse, one which antedates the provincial contours of the current discussion. Medieval mysticism is a significant entry in the lineage of influence which comprises the western tradition. This thesis looks at the apophatic or negative strategies of mystical texts in order to locate meaning in the interplay of negation and affirmation with which they are concerned.
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Reck, Regine. "The aesthetics of combat in medieval Welsh literature." Rahden/Westf Leidorf, 2005. http://d-nb.info/1000311252/04.
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Gravatt, Michelle Leroux Domínguez Frank. "The arenga in the literature of medieval Spain." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2007. http://dc.lib.unc.edu/u?/etd,812.
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Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2007.Title from electronic title page (viewed Dec. 18, 2007). "... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Romance Languages (Spanish)." Discipline: Romance Languages; Department/School: Romance Languages.
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Huxtable, M. J. "Colour, seeing, and seeing colour in medieval literature." Thesis, Durham University, 2008. http://etheses.dur.ac.uk/2175/.
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This thesis re-approaches medieval literature in terms of its investment in visuality in general and chromatic perception in particular. The introduction raises the philosophical problem off-colour: its status as an object for science, role in perception, and relationship to language and meaning as expressed within inter-subjective evaluation. Two modes of discourse for colour studies of medieval literature are proposed: the phenomenological (from the philosophical tradition of such as Maurice Merleau-Ponty) seeking localised networks and patterns of inter-subjective, embodied, perceptual meanings and values; and linguistic (informed by the philosophical psychology and language philosophy of Ludwig Wittgenstein), focusing on the lexicalisation of colour experience and creation of semantic distinctions corresponding with changing colour concepts, which in turn shape individual perceptions (both first-hand experience and that of reading). Part One introduces key medieval ideas and theories pertaining to visual perception in general, and chromatic perception in particular. The authority for, and influence on medieval writers of Plato's Timaeus, Aristotle's De Anima and Parva Naturalia, and relevant biblical material is considered. Subsequent chapters explore Patristic and Neo-Platonist developments in extramissive thought, locating within this tradition the roots of a synthesis of natural philosophy with Christian theology that is found in later medieval thought and its dealings with perception and colour. A key movement in the theology of light in relation to colour is connected to the wider philosophical movement from largely "extramissive" to largely "intromissive" models of perception. This shift in theory and its significance for colour perception is explained in terms of the impact of Aristotle's material colour theory as found in De anima and the De sensti et sensato section of his Parva Naturalia from the late twelfth century onwards. The part concludes with a detailed study of the nineteenth chapter of Bartholomaeus Anglicus's thirteenth-century encyclopedia, De Proprietatibus Rerum, which provides access to an important range of ideas and sources relevant for accessing the medieval mind in its intellectualized perception of colour. Lastly, such philosophical and theological sources and ideas as are found in Part One are compared with relevant examples from literary texts, ranging from the Middle English poem, The Parliament of the Three Ages, to Christine de Pisan's Le Livre de la Cite des Dames. Part Two treats colour perception in relation to a particular medieval phenomenon: the rise of medieval heraldry and the armorial function of the herald. It considers the spiritual and secular ideologies of chivalry and their relationship to armorial displays as found portrayed and construed in various genres of chivalric literature. Texts under discussion include books of chivalry and arms from the early thirteenth to fourteenth centuries, such as those principally indebted to New Testament armorial allegory and motif (from writers such as Ramon Llull to Geoffrey de Charny), to later fourteenth-century treatises employing Aristotle’s De sensu et sensato to establish a secular hierarchy of chivalric colours. The study culminates with Part Three, offering responses to and discussions of particular medieval fictions in terms of their phenomenological, linguistic and intertextual treatment of colour perception. Medieval texts addressed include, amongst others, Le Roman de la Rose by Guillaume de Lorris and Jean de Meun, and four Middle English metrical romances: Sir Gowther, Sir Amadace, Sir Launfal and Sir Gawain and the Green Knight.
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Jose, Laura. "Madness and gender in late-medieval English literature." Thesis, Durham University, 2010. http://etheses.dur.ac.uk/217/.
Full textAbstract:
This thesis discusses presentations of madness in medieval literature, and the ways in which these presentations are affected by (and effect) ideas of gender. It includes a discussion of madness as it is commonly presented in classical literature and medical texts, as well as an examination of demonic possession (which shares many of the same characteristics of madness) in medieval exempla. These chapters are followed by a detailed look at the uses of madness in Malory’s Morte Darthur, Gower’s Confessio Amantis, and in two autobiographical accounts of madness, the Book of Margery Kempe and Hoccleve’s Series. The experience of madness can both subvert and reinforce gender roles. Madness is commonly seen as an invasion of the self, which, in a culture which commonly identifies masculinity with bodily intactness, can prove problematic for male sufferers. Equally, madness, in prompting violent, ungoverned behaviour, can undermine traditional definitions of femininity. These rules can, however, be reversed. Malory’s Morte Darthur presents a version of masculinity which is actually enhanced by madness; equally divergent is Margery Kempe’s largely positive account of madness as a catalyst for personal transformation. While there is a certain consistency in the literary treatment of madness – motifs and images are repeated across genres – the way in which these images are used can alter radically. There is no single model of madness in medieval literature: rather, it is always fluid. Madness, like gender, remains open to interpretation.